Uniwersytet Warszawski - Centralny System UwierzytelnianiaNie jesteś zalogowany | zaloguj się
katalog przedmiotów - pomoc

Photography in American Literature (Fotografia w literaturze amerykańskiej)

Informacje ogólne

Kod przedmiotu: 4219-RS222 Kod Erasmus / ISCED: 08.9 / (0229) Nauki humanistyczne (inne)
Nazwa przedmiotu: Photography in American Literature (Fotografia w literaturze amerykańskiej)
Jednostka: Ośrodek Studiów Amerykańskich
Grupy: Proseminaria badawcze (nauki humanistyczne) na studiach II stopnia
Proseminaria badawcze na studiach II stopnia
Przedmioty na studiach stacjonarnych II stopnia
Punkty ECTS i inne: 8.00
zobacz reguły punktacji
Język prowadzenia: angielski
Rodzaj przedmiotu:

fakultatywne
proseminaria

Skrócony opis:

The research proseminar will revolve around the various manifestations of photography’s interactions with writing. We will examine how photography influenced seeing and how those new modes of perception made their way into writing of such authors as Theodore Dreiser and Stephen Crane; what does photography stand for in the fiction of William Faulkner, Raymond Carver, John Updike, and in the poetry of Walt Whitman, Sylvia Plath and Natasha Trethewey. We will look into forms of influence and collaboration between writers and photographers, such as Henry James and Coburn. Sometimes we will examine the work of writers who were also photographers, such as Eudora Welty, or photographers who tried their hand in writing. Finally, we will examine how writers, such as Mark Twain, Ezra Pound or T. S. Eliot, self-consciously promoted themselves and positioned their styles within their cultural fields with the help of photography and portraiture.

Pełny opis:

Session 1

Introduction / Overview

Research component: Introduction to the research component

Session 2

Nathanael Hawthorne and Daguerreotype

Hawthorne, “The Prophetic Pictures,” “Sights from a Steeple”

Recommended:

“Daguerreotype Images of a Disposable Past” from Williams, Through the Negative, 1–37.

Research component: FLOATING SESSION: Professor Pawel Frelik will give a training session on using Zotero and/or Endnote

Session 3

Walt Whitman’s Photographic Imagination

“Specimen Daze: Whitman’s Photobiography” from Meehan, 181–216

Recommended:

Orvell, “Whitman’s Transformed Eye” from The Real Thing: Imitation and Authenticity in American Culture, 1880–1940 pp. 3–29.;

Ed Folsom, “Whitman and Photographs of the Self,” “Whitman and Photography” from Walt Whitman’s Native Representations, pp. 99¬177

Session 4

Henry James and Alvin Langdon Coburn

From Preface to The Golden Bowl 1909, and Alvin Langdon Coburn, “Illustrating Henry James,” 1953/1966

Recommended:

David McWhirter, “Photo-Negativity: The Visual Rhetoric of James’s and Coburn’s New York Edition Frontispieces”

Emily Setina, “Photography, Revision, and the City in Henry James’s New York Edition and Alvin Langdon Coburn’s London” in Picturing America: Photography and the Sense of Place (Leiden, Brill) 49–69.

“Henry James and Alvin Langdon: The Frame of Prevision” from Schloss, pp. 55–89.

“Visual Culture: The Photo Frontispieces to the New York Edition” by Ira B. Nadel, from Henry James’s New York Edition: The Construction of Authorship, ed. by David Bruce McWhirter

Research component: Select the primary text (lit/cult) / paper topic (social science)

Session 5

Theodore Dreiser and Alfred Stieglitz

Recommended:

Carol Schloss, “Theodore Dreiser, Alfred Stieglitz, and Jacob Riis: Envisioning ‘The Other Half’” from In Visible Light, 129-138.

Research component:

Research + reading

Session 6

Stephen Crane

Megan Williams, “Snapshots of Memory and the Flashes of History in Stephen Crane’s Red Badge of Courage” from Through the Negative

Recommended:

“Imaging the Civil War: Authenticity in Painting, Photography and The Red Badge of Courage”

http://xroads.virginia.edu/~hyper/crane/images/section3.html

Session 7

William Faulkner

“Evangeline” (1931), 1971

Paper proposal + annotated bibliography (+ literature review in social science)

Session 8

John Updike

“The Day of the Dying Rabbit,” 1969; “White on White,” 1973

Recommended

Updike, John. “Visual Trophies.” New Yorker 12/24/2007, Vol. 83 Issue 41, 144–48.

Session 9

Authors’ Portraits and Self-Portraits

Nadel, Ira B. “The American Image of Ezra Pound.” Paideuma 34.2&3 (2005): 121-48.

Bukhar, Nuzhat. „The Distinguished Shaman: T. S. Eliot’s Portrait in Modern Art.” Modernism/modernity 2004: 373–424.

Session 10

Eudora Welty as a Professional Photographer

“Petrified Man” and “Flowers for Marjorie”

Recommended:

Harriet Pollack and Suzanne Marrs, “Seeing Welty’s Political Vision in Her Photographs.”

Research component: Paper outline – 1st version (note that the outline will typically go through several revisions)

Session 11

Raymond Carver

“Viewfinder,” “So Much Water,” “Cathedral”

Recommended

Amir, Ayala. Visual Poetics of Raymond Carver. Blue Ridge Summit: Rowman & Littlefied, 2010.

Dobozy, Tamas. “Raymond Carver in the Viewfinder.” Canadian Review of American Studies 41. 3 (2011): 279-298.

Session 12

Sylvia Plath and Photography

Recommended:

Anita Helle, “‘The Photographic Chamber of the Eye’: Plath, Photography, and the Post-Confessional Muse” in Representing Sylvia Plath ed. By Sally Bayley and Tracy Brain (Cambridge UP), 32–53.

Anita Helle, “Reading Plath Photographs: In and Out of Museum,” from The Unraveling Archive: Essays on Sylvia Plath, 182-210.

Session 13

Natasha Trethewey

Selected poems from Bellocq’s Ophelia: Poems

Recommended

Rindge, Debora and Anna Leahy. “Become What You Must”: Trethewey's Poems and Bellocq's Photographs English Language Notes (2006) 44 (2): 291–305.

Research component: Paper – 1st draft

Session 14

Feedback to paper drafts

All the assigned texts will be uploaded in this folder:

https://drive.google.com/drive/folders/0ByjL52c_KaDKZTU0UWV6ZGxEQVk?usp=sharing

Literatura:

Amir, Ayala. Visual Poetics of Raymond Carver. Blue Ridge Summit: Rowman & Littlefied, 2010.

Beeston, Alix. In and Out of Sight: Modernist Writing and the Photographic Unseen. Oxford: Oxford University Press, 2018.

Clayton, O. Literature and Photography in Transition, 1850-1915. Palgrave Macmillan, 2015.

Dobozy, Tamas. “Raymond Carver in the Viewfinder.” Canadian Review of American Studies 41. 3 (2011): 279-298.

Folsom, Ed. Walt Whitman’s Native Representations. Cambridge University Press, 1994.

Henninger, Katherine. Ordering the Facade: Photography and Contemporary Southern Women’s Writing. Chapel Hill: U of North Carolina P, 2007.

Meehan, Sean Ross. American Autobiography: Photography in Emerson, Thoreau, Douglass, and Whitman. University of Missouri, 2008.

Millichap, Joseph R. The Language of Vision: Photography and Southern Literature in the 1930s and After. LSU 2016.

Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago, 1994.

North, Michael. Camera Works: Photography and the Twentieth-Century Word. Oxford: Oxford University Press, 2005.

Orvell, M. The Real Thing: Imitation and Authenticity in American Culture, 1880-1940

Rugg, Linda Haverty. Picturing Ourselves: Photography and Autobiography.

Schloss, Carol. In Visible Light: Photography and the American Writer, 1840-1940. Oxford University Press, 1987.

Sim, Lorraine. Ordinary Matters: Modernist Women’s Literature and Photography. Bloomsbury, 2016.

Williams, Megan. Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature. Routledge, 2003.

Efekty uczenia się:

Student który ukończył kurs

Wiedza

- ma uporządkowaną wiedzę o sposobach w jakich fotografia wpływała na literaturę

- zna i rozumie rolę fotografii w historii literatury amerykańskiej

- ma świadomość jak pisarze wykorzystują fotografię do dookreślania i promowania swojego stylu i wizerunku

Umiejętności

- posiada podstawową umiejętność posługiwania się pojęciami i paradygmatami badawczymi w zakresie dwudziestowiecznej literatury amerykańskiej i jej powiązań z fotografią i malarstwem

- potrafi wyszukiwać, analizować i użytkować informacje, wykorzystując różne źródła

- potrafi dokonywać interdyscyplinarnej analizy materiałów łączących sztuki wizualne z literaturą

Kompetencje

- dzięki pracom grupowym na zajęciach, student pogłębia swoje umiejętności w zakresie kierowania małym zespołem, przyjmując odpowiedzialność za efekty jego pracy

- śledzi wydarzenia kulturalne, szczególnie wystawy fotograficzne

- pogłębia swoje kwalifikacje niezbędne do prowadzenia dyskusji

Metody i kryteria oceniania:

1. The general rule at the ASC is that a student can’t miss more than two classes if she or he wants to complete the course, regardless of the reasons (including health reasons!)

2. Toward the end of this semester each of you will have to submit a paper (10–15 pages long, Chicago Notes-and-Bibliography style) 50%. Final version of the paper due 10 days before the end of exam session.

3. Other assignments:

a. Participation: 10 % of the final grade

b. Paper proposal and annotated bibliography 10%

c. PowerPoint presentation: 30%

GRADING SCALE:

1. The benchmark is set at 60 percent—that is, completing 60 percent of the requirements is necessary for the passing grade.

Final grading scale (total from the above):

over 98% – 5!

90-97% – 5

85-89% – 4,5

84-75% – 4

70-74% – 3,5

60-69% – 3

Zajęcia w cyklu "Semestr zimowy 2019/20" (zakończony)

Okres: 2019-10-01 - 2020-01-27
Wybrany podział planu:


powiększ
zobacz plan zajęć
Typ zajęć: Konwersatorium, 45 godzin, 20 miejsc więcej informacji
Koordynatorzy: Grzegorz Kość
Prowadzący grup: Grzegorz Kość
Lista studentów: (nie masz dostępu)
Zaliczenie: Przedmiot - Zaliczenie na ocenę
Konwersatorium - Zaliczenie na ocenę
Opisy przedmiotów w USOS i USOSweb są chronione prawem autorskim.
Właścicielem praw autorskich jest Uniwersytet Warszawski.